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Motoko Kusanagi: the Japanese Superwoman a Comparative Film Analysis of Rupert Sanders’ and Mamoru Oshii’S Ghost in the Shell
Motoko Kusanagi: the Japanese Superwoman A comparative film analysis of Rupert Sanders’ and Mamoru Oshii’s Ghost in the Shell Janina Ida Maria Ikäheimo Bachelor’s seminar and thesis (682285A) English philology, Faculty of Humanities University of Oulu Spring 2019 1 Abstrakti/Abstract Tässä kandintyössä tutkitaan Mamoru Oshiin ja Rupert Sandersin filmatisointeja Masamune Shirow’n Ghost in the Shell –mangasta. Hollywood on kuluneiden aikojen saatossa tuottanut useita uudelleenfilmatisointeja japanilaisista kulttiklassikoista: usein vaikka alkuperäinen elokuva ja päähenkilöt ovat japanilaisia, hahmot sekä miljöö vaihdetaan amerikkalaisiksi. Tarkastelen Ghost in the Shell -elokuvaa, joka on uudelleenfilmatisointi samannimisestä japanilaisesta animaatioelokuvasta. Elokuva sijoittuu yhä Japaniin, mutta pääosa näyttelijöistä on kaukaasialaisia. Ghost in the Shell oli aikanaan merkittävä elokuva vahvan aasialaisen naispäähenkilönsä johdosta. Päämääränäni on tutkia, miten elokuvissa näkyvä orientalismi ja oksidentalismi, eli idän ja lännen stereotypiat, sekä elokuvan näyttelijöiden etnisen taustan muuttaminen vaikuttavat päähenkilön hahmoon. Tutkin myös päähenkilön identiteettiä aasialaisena naisena, ja miten se muuttuu, kun näyttelijä vaihtuu amerikkalaiseen. Katsoin alkuperäisen vuonna 1995 ilmestyneen elokuvan japaninkielisellä ääniraidalla ja englanninkielisillä teksteillä, ja uuden, vuoden 2017 filmatisoinnin englanninkielisellä ääniraidalla. Hyödynnän tutkimuksessani artikkeleita liittyen animen historiaan, sekä rodun ja sukupuolen näkymiseen -
CINEMA E DISTOPIA – Exploração De Conceitos E Mundos Paralelos –
Leonardo Ripoll Marcio Markendorf Renata Santos da Silva (organizadores) CINEMA E DISTOPIA – exploração de conceitos e mundos paralelos – Coleção Cadernos de Crítica volume 4 Projeto Cinema Mundo Florianópolis 2020 Equipe Cinema Mundo Distopias Leonardo Ripoll Marcio Markendorf Renata Santos da Silva Gabriel de Oliveira Manduca Julia Pozzetti Tuan Peres Revisão do original Leonardo Ripoll Marcio Markendorf Leandro Waltrick Projeto gráfico e diagramação Marcio Markendorf Leonardo Ripoll Capa Felipe Hipolito Dutra Realização do projeto Curso de Cinema e Biblioteca Universitária Universidade Federal de Santa Catarina Sobre o Cinema Mundo Criado em 2012, o projeto de extensão Cinema Mundo opera aos moldes de um cineclube no espaço da Universidade Federal de Santa Catarina. A ação é uma parceria firmada entre o curso de Cinema e a Biblioteca Universitária da instituição. Ao promover quinzenalmente exibições comentadas de filmes, o Cinema Mundo procura estimular o debate crítico de forma horizontal entre os es- pectadores, sofisticar o olhar da comunidade para a experiência cinemato- gráfica e, ainda, produzir conhecimento acadêmico, fatores que produzem a desejada articulação entre a atividade extensionista, o ensino e a pesquisa. A coleção Cadernos de Crítica, publicação própria do projeto, é o modo pelo qual podemos difundir o conhecimento produzido para além das fronteiras locais. Editado com base nas curadorias semestrais do Cinema Mundo, cada volume é disponibilizado em formato e-book e de forma inteiramente gratui- ta no site institucional do projeto: http://cinemamundo.cce.ufsc.br/publicacoes/ Sobre o volume O presente volume, Cinema e distopia, é resultante da curadoria do ano de 2018, cujo objetivo foi oferecer ao público uma amostragem dos modos de se pensar as distopias na narrativa cinematográfica. -
Strategy and Style in English and French Translations of Japanese Comic Books
DOCUMENT RESUME ED 463 675 FL 027 239 AUTHOR Howell, Peter TITLE Strategy and Style in English and French Translations of Japanese Comic Books. PUB DATE 2001-00-00 NOTE 12p.; For complete journal issue, see FL 027 235. PUB TYPE Information Analyses (070) Journal Articles (080) Reports Descriptive (141) JOURNAL CIT Edinburgh Working Papers in Applied Linguistics; n11 p59-66 2001 EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Comics (Publications); Cultural Differences; *Cultural Influences; French; Japanese; *Translation ABSTRACT This article explores translation strategies in English and French versions of Japanese comic books, comparing English and French dialogue text regarding local color, atmospherics, and characterization. Section 1 describes Japanese comic books. Section 2 examines translation strategies. Sections 3 and 4 discuss local color and character locus (translation of culture-specific items and of non-standard dialect and foreigner talk). Section 5 discusses the translation of register (situations of language use) .Section 6 highlights comic book character role (the soldier, schoolgirl, and vamp) .Section 7 discusses atmospherics (jargonization) .Section 8 concludes that American translators used naturalizing strategies, both culturally (name changes and insertion of references to American culture) and linguistically (stereotypical use of dialects and use of heavily marked register). Strategies used in the French versions are less naturalizing than those used in the American versions. Culturally, they are more foreignizing in conserving names and culture-specific items. Linguistically, in some translations, transfers and calques from the English version are used, and as a result, the dialogue reads like a translation, but not from the Japanese original. Other French translations reveal linguistic neutralization with regard to dialect and register. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
What Is Anime?
1 Fall 2013 565:333 Anime: Introduction to Japanese Animation M 5: 3:55pm-5:15pm (RAB-204) W 2, 3: 10:55am-1:55pm (RAB-206) Instructor: Satoru Saito Office: Scott Hall, Room 338 Office Hours: M 11:30am-1:30pm E-mail: [email protected] Course Description This course examines anime or Japanese animation as a distinctly Japanese media form that began its development in the immediate postwar period and reached maturity in the 1980s. Although some precedents will be discussed, the course’s primary emphasis is the examination of the major examples of Japanese animation from 1980s onward. To do so, we will approach this media form through two broad frameworks. First, we will consider anime from the position of media studies, considering its unique formal characteristics. Second, we will consider anime within the historical and cultural context of postwar and contemporary Japan by tracing its specific themes and characteristics, both on the level of content and consumption. The course will be taught in English, and there are no prerequisites for this course. To allow for screenings of films, one of two class meetings (Wednesdays) will be a double- period, which will combine screenings with introductory lectures. The other meeting (Mondays), by which students should have completed all the reading assignments of the week, will provide post-screening lectures and class discussions. Requirements Weekly questions, class attendance and performance 10% Four short papers (3 pages each) 40% Test 15% Final paper (8-10 pages double-spaced) 35% Weekly questions, class attendance and performance Students are expected to attend all classes and participate in class discussions. -
Read Book the Ghost in the Shell Deluxe Complete Box
THE GHOST IN THE SHELL DELUXE COMPLETE BOX SET PDF, EPUB, EBOOK Shirow Masamune | 864 pages | 06 Feb 2020 | Kodansha America, Inc | 9781632366429 | English | New York, United States The Ghost In The Shell Deluxe Complete Box Set PDF Book Haha…okay as sad as this is…. Similar threads. Javascript is not enabled in your browser. And that is saying something. Greg rated it it was amazing Dec 23, Trailer TV Spots Textless opening. This is the first English-language Shirow series that will be produced in the authentic right-to- left reading format, as originally published in Japan. Hardcover, 9-in. Jungle Cruise You are commenting using your Facebook account. Now he has only his job and his beloved Basset hound, Gabriel. The only biological component left is her brain. There's just one catch: it's back-ordered and will ship in one to three months. Ghost in the Shell 7 books. Blu-ray Night Watch. Most books of this nature are mostly art with a bit of text, but this one saves its gallery and production sketches for the last 36 pages. Anime a. Interview with art director Yusuke Takeda and conceptual artist Hiroshi Kato Kodansha International. This third volume however… The focus was truly there. You can have light and frothy Tachikoma silliness, and that you have the utter bleakness of something like Jungle Cruise. Candice Snow rated it it was amazing Dec 01, With that being said, I still see the light at the end of this tunnel with the chance to finally check out the anime adaptations that have clearly been the source of all the praise garnered for The Ghost in the Shell name. -
Revisiting the Philosophy of Ghost in the Shell
Mirt KOMEL* THE GHOST OUTSIDE ITS SHELL: REVISITING THE PHILOSOPHY OF GHOST IN THE SHELL Abstract. The article engages with the popular Japanese media franchise Ghost in the Shell, discerning its cultur- al aspects and influence through a philosophical reflec- tion of its main materialistic idea, namelly, the dual relationship between mind and body. The interpreta- tion is legitimazied by the fact that the author of the original manga series, Masamune Shirow, was influ- enced by Arthur Koestler’s book Ghost in the Machine, esentially a structuralist anti-Cartesian meditation. The author of the present article argues that the main under- lying materialistic idea of the ghost in the shell can be originally reinterpreted and developed further through Hegelian dialectics. Keywords: Ghost in the Shell, Japanese Manga, Cultural 920 Studies, Philosophy, Cartesian Materialism, Hegelian Dialectis Introduction Ghost in the Shell, a popular Japanese media franchise inspired by Arthur Koestler’s book The Ghost in the Machine,1 was originally written and illustrated by Masamune Shirow in 1989 as a seinen manga2 with the title 攻殻機動隊 (transliterated as Kōkaku Kidōtai, literally “Mobile Armored Riot Police”). Due to its enormous popularity the original manga and its sequels inspired several anime adaptations, starting in 1995 with the film Ghost in the Shell, then in 2002 the television series Ghost in the Shell: Stand Alone Complex, in 2004 followed by another film, Ghost in the Shell: Innocence, and in 2013 by an OVA reboot (original video animation), Ghost in the Shell: Arise, and again a movie in 2015 based on the Arise series, Ghost in * Mirt Komel, Phd, Assistant Professor, Faculty of Social Sciences, University of Ljubljana. -
Gendered Cyborgs and Human Boundaries in Mamoru Oshii's
UNIVERSITY OF HAIFA FACULTY OF HUMANITIES DEPARTMENT OF ASIAN STUDIES Creatures on Borderlands: Gendered Cyborgs and Human Boundaries in Mamoru Oshii’s Ghost in the Shell Movies A seminar paper in the course Contemporary Japanese Popular Culture Submitted to: Dr. Michal Daliot-Bul 2014 Table of Content Introduction .......................................................................................................................... 1 Chapter 1: Representations of the Gendered Cyborg .............................................. 4 Chapter 2: Constructing the Human-Machine Hybrid ............................................. 9 Chapter 3: The Films as a Mirror of Japanism ........................................................ 15 Conclusion .......................................................................................................................... 18 Bibliography ...................................................................................................................... 20 Introduction They fascinate us because they are not like us and yet just like us. - Anne Balsamo, Technologies of the Gendered Body: Reading Cyborg Women. The idea of artificial life created from inanimate materials has always fascinated human beings. Since Science Fiction emerged as a genre, it extended to explore fears and desires that run deep within our cultures.Sophisticated dimensions were further added to the genrewith the invention of cybernetics in the 1960s and the subsequent emergence of cyberpunk in the 80s, but it could be argued -
Press Release
Contact: Kristyn Souder Communications Director Email: [email protected] Phone: (267)536-9566 PRESS RELEASE Zenkaikon Convention to Bring Anime and Science Fiction Fans to Lancaster in March Hatboro, PA – January 21, 2013: On March 22-24, 2013, Zenkaikon will hold its seventh annual convention in a new location at the Lancaster County Convention Center in Lancaster, Pennsylvania. The convention expects to welcome over two thousand fans of Japanese animation (anime), comics (manga), gaming, and science fiction to downtown Lancaster for the weekend-long event. Zenkaikon had typically been held in the Valley Forge area of Pennsylvania. However, with the conversion of the Valley Forge Convention Center to a casino and the continued growth of the event, Zenkaikon moved its convention to Lancaster. Many convention attendees don costumes of their favorite characters to attend the annual convention. Planned convention events include a variety of educational panels and workshops hosted by volunteers and guests; anime and live action screenings; a costume and skit competition (the "Masquerade"); a hall costume contest; performances by musical guests; a live action role play ("LARP") event; video game tournaments and tabletop gaming; a formal ball and informal dances; and an exhibit hall of anime-themed merchandise and handmade creations from artists. A number of Guests of Honor have already been announced for Zenkaikon 2013. John de Lancie, best known for his roles on Star Trek and Stargate SG-1, and more recently known for his role as Discord on My Little Pony: Friendship is Magic, will be hosting panels and meeting attendees. Prolific voice and live action actor Richard Epcar (Ghost in the Shell, The Legend of Korra, Kingdom Hearts) and actress Ellyn Stern (Robotech, Gundam Unicorn, Bleach) will also be participating in a variety of programming. -
Perils of Hollywood Whitewashing?: a Review of 'Ghost in the Shell' Movie
Markets, Globalization & Development Review Volume 3 Number 1 Critical Perspectives on Marketing Article 6 from Japan - Part 1 2018 Perils of Hollywood Whitewashing?: A review of 'Ghost in the Shell' movie Kosuke Mizukoshi Tokyo Metropolitan University Follow this and additional works at: https://digitalcommons.uri.edu/mgdr Part of the Anthropology Commons, Economics Commons, Marketing Commons, Other Business Commons, and the Sociology Commons Recommended Citation Mizukoshi, Kosuke (2018) "Perils of Hollywood Whitewashing?: A review of 'Ghost in the Shell' movie," Markets, Globalization & Development Review: Vol. 3: No. 1, Article 6. DOI: 10.23860/MGDR-2018-03-01-06 Available at: https://digitalcommons.uri.edu/mgdr/vol3/iss1/6https://digitalcommons.uri.edu/mgdr/vol3/ iss1/6 This Media Review is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Markets, Globalization & Development Review by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. Perils of Hollywood Whitewashing?: A review of 'Ghost in the Shell' movie Cover Page Footnote The author expresses his thanks to MGDR editors, and especially to an MGDR reviewer with deep expertise in film and media, for detailed help in the development of this paper. This media review is available in Markets, Globalization & Development Review: https://digitalcommons.uri.edu/ mgdr/vol3/iss1/6 Mizukoshi: Movie Review - Ghost in Shell Film Review Perils of Hollywood Whitewashing?: A review of Ghost in the Shell movie Introduction Ghost in the Shell was first produced as a Japanese animated film in 1995, and established a cult status due to its philosophical depth and its sophistication in cultivating the ‘posthuman’ condition in its narrative core. -
Anime Publisher Year a Tree of Palme ADV Films 2005 Abenobashi ADV
Anime Publisher Year A Tree of Palme ADV Films 2005 Abenobashi ADV Films 2005 Ah! My Goddess Pioneer 2000 Air Gear ADV Films 2007 Akira Pioneer 1994 Alien Nine US Manga 2003 Android Kikaider Bandai Entertainment 2002 Angelic Layer ADV Films 2005 Aquarian Age ADV Films 2005 Arjuna Bandai Entertainment 2001 Black Cat Funimation 2005 Black Heaven Pioneer 1999 Black Lagoon Funimation 2006 Blood: The Last Vampire Manga Entertainment 2001 Blood+ Sony Pictures 2005 BoogiePop Phantom NTSC 2001 Brigadoon Tokyo Pop 2003 C Control Funimation 2011 Ceres: Celestial Legend VIS Media 2000 Chevalier D'Eon Funimation 2006 Cowboy Bebop Bandai Entertainment 1998 Cromartie High Scool ADV Films 2006 Dai-Guard ADV Films 1999 Dears Bandai Visual 2004 DeathNote VIS Media 2003 Elfen Lied ADV Films 2006 Escaflowne Bandai Entertainment 1996 Fate Stay/Night TBS Animation 2013 FLCL Funimation 2000 Fruits Basket Funimation 2002 Full Metal Achemist: Brotherhood Funimation 2010 Full Metal Alchemist Funimation 2004 Full Metal Panic? ADV Films 2004 G Gundam Bandai Entertainment 1994 Gankutsuou Gnzo Media Factory 2004 Gantz ADV Films 2004 Geneshaft Bandai Entertainment 2001 Getbackers ADV Films 2005 Ghost in the Shell Bandai Entertainment 2002 Ghost Stories ADV Films 2000 Grave of the Fireflies Central Pak Media 1988 GTO Great Teacher Onizuka Tokyo Pop 2004 Gungrave Pioneer 2004 Gunslinger Girl Funimation 2002 Gurren Lagann Bandai Entertainment 2007 Guyver ADV Films 2007 Heat Guy J Pioneer 2002 Hellsing Pioneer 2002 Infinite Ryvius Bandai Entertainment 1999 Jin-Roh Bandai -
Le Vivant Dans L'art
Le vivant dans l’art : un questionnement renouvelé par l’essor des nouvelles technologies. Camille Prunet To cite this version: Camille Prunet. Le vivant dans l’art : un questionnement renouvelé par l’essor des nouvelles technolo- gies.. Art et histoire de l’art. Université de la Sorbonne nouvelle - Paris III, 2014. Français. NNT : 2014PA030035. tel-01175893 HAL Id: tel-01175893 https://tel.archives-ouvertes.fr/tel-01175893 Submitted on 13 Jul 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 2 L’intérêt des artistes pour les biotechnologies remonte aux années 1990. De nombreux travaux universitaires se sont penchés depuis sur ces interactions entre art et biotechnologie. En regardant de plus près les œuvres conçues à l’aide des biotechnologies, on s’aperçoit de leur importance dans l’œuvre. Comment l’utilisation des nouvelles technologies révèle-t-elle une évolution de l'appréhension artistique du vivant ? Ouvrir la réflexion au vivant, c’est-à-dire êtres humains, animaux et végétaux, permet de rendre compte d’une tentative de dépasser l’anthropocentrisme, tout en soulignant la dépendance des autres vivants envers l’espèce humaine. Les œuvres sont autant de scénarios qui, s’ils ne sont pas nécessairement pertinents sur le plan scientifique, permettent d’évoquer les enjeux des avancées technologiques.